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The History of How Television Plays Into the Horror Films

Over the past 100 years, televisions have played a critical role in human history. These devices revolutionized how we receive vital information, discover products/services, and consume various forms of entertainment. TV played a key role in the formative years of the last couple of generations, crafting a novel content area with the development of TV shows and eventually made-for-TV films, which began to accompany and then slowly replace radio dramas. The similar thrills of stage plays and motion pictures were now in a format designed for home consumption. Soon, programs like sitcoms, cartoons, music videos, soap operas, and more came straight to living rooms. TV’s impact on all areas of pop culture is immeasurable. However, there’s one genre that boasts a special relationship with it: horror. 

As we know, horror is often a reflection of society’s glaring fears, deepest prejudices, morality woes, and religious climates, for better or worse. As horror began to take its most recognizable form and rise to mainstream popularity in the late-1960s, the TV set became a part of the genre’s storytelling makeup. At this point in history, TV ownership was continuing to rapidly rise despite the devices’ hefty price tag. Watching TV was a communal experience as people gathered for their favorite weekly programs. Sometimes, the occasion was somber. For example, countless people have witnessed Earth-shattering and generation-defining news, like the assassination of Martin Luther King, Jr. in 1968.

Continental Distributing

This same year, the seminal film Night of the Living Dead marks the first notable usage of television in horror. The film’s writer, producer, and director, George Romero, brought his previous professional TV experience in the mix. Romero wanted to show how the medium would play a critical role in an unthinkable apocalyptic situation. The broadcasts in the film mimic the guerilla, “boots-on-the-ground” filming style seen during the era’s coverage of the Vietnam War. 

In this film, TV is used to not only swiftly spread dire warnings and updates to the viewing audience. It is also a gateway to inciting chaos among some and seeding further doubt in others. Yes, doubt in the midst of what they are experiencing. As is the case in many apocalyptic narratives, the greatest horror often stems from humanity’s willful ignorance and/or the violence that ensues when conventional structures are crumbling. The results are predictably grim, leading to deadly battles for safety and resources. The space between what’s broadcast into homes and the truth was, and continues to be, a topic of debate. It is explored in Night of the Living Dead via the panic that ensues among a small group of survivors. 

Many people’s distrust of media happens for a variety of reasons. Sometimes, the message is clearly propaganda to sway the viewer towards a specific decision or feeling. Other times, it comes from social influences like a religious organization or a generation’s collective norms. There has always been a sector of society, religious or not, that views TV as, at worst, a portal for evil and/or misinformation to seep into a person’s mind and tamper with their soul. Or, at best, it is a technological device that negatively affects how people interact with each other. Horror naturally plays off of this fear in movies that are reflective of social attitudes of its time. 

In fact, I have two words that will set up a film that does exactly this: They’re here. 

MGM

That infamous phrase still sends a thrilling shudder down many late Boomer, Gen-X, and Millennial spines. Many of us horror-loving nerds can remember this entire scene from Poltergeist (1982) easier than we can recall what we ate for breakfast two days ago. Little Carol Anne is sleeping in bed with her family before the TV suddenly turns on. The white screen crackles and flickers with post-broadcast static (which feels ancient now), flooding the room with light as she crawls from her bed and towards the glowing screen.

Soon, malevolent spirits filter into the room, causing it to shake with the wrath of an earthquake as her family awakens in horror. Carol Anne turns to them and utters that classic line, setting off a chain of bizarre happenings. What was supposed to be a family’s American Dream became a nightmare that’s largely attributed to—you guessed it!—that evil device that signifies materialism and disconnection among a household. (They throw the TV in the trash in the end, and I understand why.) The attitude that “Hey, maybe TV is a bad thing!” is the horror way of early ‘80s films like Videodrome (1983). That lovely film is about evil being spread through broadcast waves that control a man’s mind to the brink of insanity.

It asks the question of how technology, specifically television, toys with our grip on reality as well as our overall senses. A Nightmare on Elm Street 3: Dream Warriors famously features a scene where Jennifer, who wants to be a TV actress, is pulled through a literal TV screen and killed by Freddy Krueger. Prior to her death, Max, an orderly at the hospital, warns her about watching too much TV and says she should read a book instead. She insists on watching to keep her entertained and awake but her tiredness gets the best of her. Jennifer’s desire to be on, engage with, and profit off of TV indirectly leads to her demise, which is a pointed message among the film’s humor. 

And who can forget the oft-panned Halloween III: Season of the Witch (1983)? This standalone installment leaves Michael Myers behind for a story about witchcraft and a TV commercial with a little jingle that activates a killer microchip in Halloween masks. (I know, haha.) There have long been beliefs that Halloween is 1) tied to Satanic/evil and 2) is when the veil between this life and the afterlife is thinnest. Coupling these with a film that makes an advertisement the channel for terror is brilliant. In fact, there’s even another commercial within this film about the original Halloween (1978) film! This further distances Halloween III from the franchise and provides a nice Easter egg back when the concept was still relatively new to TV and film.

This era of horror also coincides with the Satanic Panic era, which lasted throughout the ‘80s and into the ‘90s. The collective moral panic that Satanic rituals and general evil were hiding in plain sight, thanks to entertainment mediums like movies and even D&D, stood on the foundation of controversial films like The Exorcist (1973) and the real-life Manson family murders. Conspiracy theories, some broadcast via television, ran rampant. Fears of child abuse cults, supposedly hellacious symbolism, and other things took over America and eventually went global. So, it is easy to see why horror kept leaning into the “TVs are portals for evil!” mantra.

Of course, the usage of television in horror films is not always about bolstering a sinister plot. Television is primarily for our entertainment, after all. Halloween (1978) depicts this with Tommy Doyle and Lindsay Wallace. These two young kids spend much of their time glued to the tube watching The Thing From Another World (1951) and Forbidden Planet (1956). Meanwhile, their teenage counterparts are literally fighting for their lives. There are obvious connections to be made between the horrors of the films-with-a-film and the ways they bleed into reality. For example, these films give Tommy a fear of a lurking boogeyman that comes to life as Myers. But overall, it was a normal Halloween night with them doing what many kids do: entertaining themselves with a movie!

Years later, Halloween itself would get the film-within-a-film treatment with Scream (1996). Horror geek Randy and others watch it on screen right before murderous mayhem hits Stu Macher’s house. The rules and guidelines of horror movies become a part of their lives in the most tangible way. And, it’s rather poetic to see final girl Sidney Prescott defeat Macher, a killer who has seen one too many scary movies, by barbequing his head in a television. There’s still that subliminal messaging of TV reflecting the real world while also depicting it as a form of community and entertainment. 

The Scream franchise continues to prominently weave in television in its subsequent sequels. Scream 2 (1997) and Scream 3 (2000) both feature scenes where Sidney is learning about Ghostface killings on screen as a casual TV watcher. In the latter film, the killer calls her to force her into watching news about Hollywood murders to lure her out of hiding. However, the most infamous use of TV in a horror flick during the early 2000s is The Ring (2002), the American remake of the Japanese supernatural horror thriller Ringu (1998).

In the vein of Poltergeist, this movie 1) is a relic of its time and 2) utilizes TV as a literal two-way street and very evil portal. There wasn’t a horror fan alive then who wasn’t familiar with its story of a journalist investigating (and watching) a videotape with strange imagery that kills the viewer seven days later. The impact of television and its often disturbing imagery and how that affects viewers is a broad message that gets a horror twist. It comes complete with its own version of how chain letters and urban legends go hand in hand.

The film even shows Samara, a supernaturally powered child, locked in a barn by her adoptive parents with only a television for companionship. That detachment from family and society at large in favor of television is the crux of Samara’s turn towards evil. She uses the very thing that brings her comfort to reach out (and kill) others. 

There’s an obvious relationship with VHS tapes and television because, well, you use one to watch the other. The V/H/S film franchise uses TV very heavily as the events of different found footage nightmares unfold. As we go into these terrors alongside various characters, it once again feels like there’s a blurred line between our worlds and what we are witnessing.

Years later, TV continues to play closely with the horror genre. Recently, Late Night with the Devil (2023) explored concepts of greed, spectacle, and a desperation for attention and viewership. The David Dastmalchian-led found footage flick depicts a demonic possession nightmare on live television. I Saw the TV Glow (2024) follows a duo who watch a weird defunct series that blurs the lines between fantasy and reality for them. To a lesser degree, TV takes a small role in Jordan Peele’s Get Out (2018) as the protagonist Chris watches a recorded video of the racist body horrors that await him. His subsequent films, Us and Nope, are more, ahem, tethered to TV’s influence and our preoccupation with spectacle.

The former’s antagonist (but not really a baddie) Red/the real Adelaide’s entire plan is heavily influenced by her seeing a “Hands Across America” promotion shortly before being replaced by her doppelganger in 1986. Nope begins its narrative with a popular TV show starring a chimp. We quickly see the animal goes back to his wild nature and kills those around him. That event isn’t enough to teach Jupe to not play with and exploit nature, a decision that leads to his demise when a hungry UFO-like alien swallows him up.

Deeper connections aside, the usage of TV for Easter eggs a la Halloween (1978) continues in movies like Scream (2022). The film features a scene with Tara watching Dawson’s Creek, which stars Scott Foley, who played killer Roman Bridger in Scream 3. And, horror comedy film The Blackening (2023) humorously uses a TV set for a blackface killer to play mind games. He stalks and tortures a group of Black friends gathering for a Juneteenth weekend of fun. They witness live-footage (some of which is deceiving) as well as pre-recorded things that add to the terror.

Lionsgate

The future of horror keeps shifting in many ways as viewer attitudes change. But, even in a world where many turn to their phones, tablets, and laptops to watch shows and movies, the television set will continue to be a staple in the genre. Whether the device’s purpose is fun nods to other franchises, a source of information, or a portal for sinister spirits, TV and horror are always a match made in hell.

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A ROBOCOP Series Is in Development at Prime Video, James Wan to Produce

A year or so back, it was reported that Prime Video was developing several series based on MGM properties. Now, via Variety, we know that at least one of those will be based on the classic sci-fi film RoboCop. Peter Ocko is developing a RoboCop TV series, along with James Wan under his Atomic Monster banner. The official synopsis for the upcoming RoboCop show is the following: “A giant tech conglomerate collaborates with the local police department to introduce a technologically advanced enforcer to combat rising crime — a police officer who’s part man, part machine.” That pretty much sounds like the premise to Paul Verhoeven’s 1987 film.

MGM

RoboCop is an iconic property, but it hasn’t fared well creatively outside the original film. But that has not stopped creative powers from trying to make their ventures successful. Star Peter Weller returned as the title character Alex Murphy for RoboCop 2 in 1990, but the film was a disappointment at the box office and critically. Nevertheless, another RoboCop arrived in 1993, with actor Robert Burke taking over for Weller. In 2014, a reboot hit theaters, but again, failed to light the world on fire. In between, there have been several animated series and video games. Much like the Halloween franchise, most of them acknowledge the original 1987 film’s continuity, but ignore other parts of the franchise.

There’s currently no word on whether or not this will be a complete reboot, or a legacy sequel to the original. The latter is something that might renew fan interest would be the return of Peter Weller in the role. Especially after bowing out of it after two films back in the day. But in various interviews, he doesn’t seem too interested in returning to play the part again. A large part of what made the original work so well was that it was a satire of consumerist American culture. This is something other sequels and TV series have forgotten to lean into. We’ll see if the Prime Video iteration can finally recapture what made the original RoboCop so great.

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THE LAST OF US Season 2 Teases ‘Backstory Scene’ Game Fans Will Love

The Last of Us ended its first season on HBO with Joel and Ellie returning to the commune in Colorado. Sure, Joel might have doomed all mankind to save one young girl, but at least they have a place nice to live. For now. Fans of Naughty Dog’s popular video game franchise know new terrors and sadness await the pair in the years to come, and we’ll see all of it come to life when the hit series begins adapting the sequel game in its second season. What else can we expect from the show after a lengthy wait?

HBO

Speaking to Variety, creator Neil Druckmann recently teased The Last of Us season two, noting, “There’s stuff in this season that I’m really excited about — stuff that we hinted at — one scene in particular comes to mind that I think fans of the game will eat up, because it really kind of tells you a lot of backstory of this important character that there wasn’t really a way for us to even do that in the game.”

What scene could that be? We’ll have to stay tuned to find out.

Here’s everything we know about The Last of Us‘ second season so far.

The Last of Us Season 2 PlotLiane Hentscher/HBO

HBO has not yet shared an official synopsis for The Last of Us season two. We still have some idea what to expect. The franchise’s second video game will provide the source material for the TV series. Showrunner Craig Mazin has said the show will take more than one season to adapt the sequel game, but like with the television series’ first season they are not making a direct adaptation. Fans will once again see some major changes alongside some major moments and stories taken directly from the game. That might very well include a huge—though temporary—change for one character. (We won’t risk spoiling it for those who don’t know what that means.)

One thing that won’t change is the importance of The Last of Us Part II‘s Abby Anderson. She will debut during the second season and play a significant role in Ellie’s story. And like the video game sequel, the HBO series will also feature a time jump.

New footage from season two promises that it will definitely be explosive. Joel is tearful and Ellie is going through some sort of horrific challenges of her own. We also get a look at Catherine O’Hara and Jeffrey Wright in their new roles. It is not totally clear who Catherine is playing, but Jeffrey is reprising his role as the game character Isaac. According to Entertainment Weekly, he is “the quietly powerful leader of a large militia group who sought liberty but instead has become mired in an endless war against a surprisingly resourceful enemy.”

These new images also have us super hype.

Season 2. pic.twitter.com/YooeHDxaJk

— The Last of Us (@TheLastofUsHBO) August 5, 2024

Behind the Scenes

The Last of Us‘ second season was in pre-production before the WGA and SAG-AFTRA strikes put the show on hold. The first episode had already been written at the time. With both unions finally getting fair deals, the show is now expected to begin filming in Vancouver in early 2024.

Co-creators, writers, and executive producers Craig Mazin and Neil Druckmann are back for season two. Writers Halley Gross (The Last of Us Part II) and Bo Shim worked with Mazin and Druckmann on season two. Deadline additionally reports that The Last of Us season two has set its slate of directors, both new and old. These include four new directors: Succession‘s Mark Mylod, Perry Mason‘s Nina Lopez-Corrado, Watchmen‘s Stephen Williams, and Loki‘s Kate Herron. They join returning director Peter Hoar, who directed the incredible season one episode “Long, Long Time,” and the show’s creators Craig Mazin and Neil Druckmann.

The series comes from Sony Pictures Television, PlayStation Productions, Word Games, and Naughty Dog.

The Last of Us Season 2’s CastHBO

Pedro Pascal and Bella Ramsey will return as Joel and Ellie. Also expected back is Gabriel Luna. He plays Joel’s younger brother, Tommy. As is Rutina Wesley. She plays Tommy’s wife Maria.

Netflix/Naughty Dog

Regarding new casting news, The Last of Us season two has cast Kaitlyn Dever as Abby. Abby is an important character from The Last of Us Part II game. Additionally, Isabela Merced has joined the season as Dina, who also hails from the second The Last of Us game. Dina is described as “a free-wheeling spirit whose devotion to Ellie will be tested by the brutality of the world they inhabit.”

Most recently, Isabela Merced, who will play Dina on The Last of Us season two, shared, “I’m so excited for people to see my chemistry with Bella. Bella and I have so much chemistry. From the first day, it was there. There’s no work to be done. I really respect Bella. I just saw Catherine Called Birdy, and Bella has such range and just an honesty about their work. I’m learning so much. I’m very honored to be here.”

Max/Naughty Dog

We’re glad to hear it because we can’t wait to see Dina and Ellie’s complicated romance come to life. Currently, The Last of Us season two describes Dina as “a free-wheeling spirit whose devotion to Ellie will be tested by the brutality of the world they inhabit.”

Netflix/Naughty Dog

The Last of Us season two has also cast Beef‘s Young Mazino as Jess. Jess is described, per Variety, as “a pillar of his community who puts everyone else’s needs before his own, sometimes at a terrible cost.” That sounds ominous. Generally speaking, from Jess’s role in The Last of Us Part II, we can assume he and Ellie will build a friendship.

Finally Danny Ramirez, Ariela Barer, Tati Gabrielle, and Spencer Lord have all come aboard the second season of The Last of US, they will all feature as characters from The Last of Us Part II.

Naughty Dog/Paramount Pictures/Netflix

Variety reveals:

Ramirez will play Manny, described as “a loyal soldier whose sunny outlook belies the pain of old wounds and a fear that he will fail his friends when they need him most.” Barer will play Mel, said to be “a young doctor whose commitment to saving lives is challenged by the realities of war and tribalism.”

Gabrielle has been cast as Nora, “a military medic struggling to come to terms with the sins of her past.” And Lord will appear as Owen, “a gentle soul trapped in a warrior’s body, condemned to fight an enemy he refuses to hate.”

The Last of Us Season 2’s Release DateHBO

The Last of Us‘ second season wasn’t expected to premiere until the start of 2025 before the WGA and SAG-AFTRA strikes. Even with production delayed, HBO is still reportedly targeting a 2025 return for the show. However, there is not yet an official date in place.

Max

Casey Bloys, the CEO of HBO and Max Content, recently gave an updated release window for The Last of Us season two. Bloys offered the following answer to the question, “What can you say about premiere dates for the new seasons of White Lotus and The Last of Us?” He noted, “All I’ll say now, generally first half of the year, I expect them to be in the Emmy window.” The Emmy window means that The Last of Us season two’s release date will likely be anytime before late May of 2025.

Originally published on December 29, 2023.

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This Monster Size Comparison Video Compares Totoro to King Kong

It is easy to look up the height of an actor online and compare it to your own because we all have a frame of reference. But what is the reference for fictional monsters like Sully from Monsters Inc. or King Kong from Kong: Skull Island? Gorillas do not normally take down helicopters, so it would be helpful to compare them to other creatures. Have you ever wondered how the Mind Flayer from Stranger Things is compared to the Colossal Titan from Attack on Titan? How about if you could step on Kirby? Are you taller than a Minecraft Creeper? Could Totoro from My Neighbor Totoro could be in the NBA? If you were then you’re in luck! The video below has you covered for questions related to the actual sizes of fictional characters and monsters.

This video from the YouTube channel MetaBallStudios compares the real-life sizes of monsters from popular TV, film, and video game series. Their videos use 3D animations to illustrate things like how massive Godzilla is at 120 meters. The channel makes a variety of videos comparing the sizes of fictional characters, items, and vehicles. Other interesting size comparisons from MetaBallStudios include Mechas, video game maps, and types of dragons. Some videos, including the one above, offer a first-person view for a more up close and personal perspective of the real size of these creatures.

MetaBallStudios

The video begins with little Sackboy from the Big Little Planet platforming game series, who is only eight centimeters long. The video goes all the way to Super Shenron from Dragon Ball Super, which is bigger than the galaxies. The final creature is Yog-Sothoth, which is an immeasurable cosmic entity created by horror fiction writer H. P. Lovecraft.

The video helps us understand the sizes of the monsters in the real world. Because we will, thankfully, or in the case of Totoro, not so thankfully, will never be able to stand near them.

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YU-GI-OH! Keycaps Will Make Your Keyboard Set-Up Adorable

What could be more adorable than Kuriboh keycaps? Well, from the image below, it seems like nothing. Eminent Crafts has released a set of officially licensed Yu-Gi-Oh! keycaps, which are now available for pre-order and will ship in December. Eminent Crafts partnered with the Yu-Gi-Oh! Trading Card Game manufacturer, Konami, to make keycaps and LED Dioramas.

Eminent Crafts

There are five varieties of keycaps in the collection. Every keycap is made from PVC, a synthetic plastic with flexibility and thermal resistance. The keycaps are compatible with Cherry MX and Clone switches. The set of Kuriboh monsters above costs $59.99, whereas a single Kuriboh keycap costs $19.99.

Eminent Crafts

The other three keycaps are of the Toon card archetype. Blue-Eyes Toon Dragon, Toon Dark Magician Girl, and Toon Dark Magician are the remaining styles of keycaps. Due to current licensing rights the collaboration is only available in the United States, Canada, and European Union. The LED dioramas are not available for preorder yet.

Eminent Crafts

Eminent Crafts produces keycaps, figures, dioramas, etc. that relate to pop culture and anime franchises. The company recently announced an upcoming collaboration with Kodansha to create Attack on Titan inspired PVC figurines, keycaps, and LED Dioramas.

This is not the first collaboration for Yu-Gi-Oh! this year. Earlier this year Viz Media relased a Yu-Gi-Oh! fashion capsule on the Shonen Jump store in limited quantities. The collection includes hoodies and shirts inspired by the series’ Duelist Kingdom arc. Prices for the collection range from $40 – $90.

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Dive Into These 8 Spine-Tingling Horror Anthologies This Fall

Spooky season is upon us and what better way to get in the spirit than by cuddling up with a good book? Horror novels are the perfect way to imbibe in Halloween time. When they’re good, they’re fully immersive and mind-altering. Scary movies are great, but scary books have a way of creeping into every crevice of the mind. It’s core-level fear, the kind you can’t escape even in your dreams. 

But while horror novels follow a singular, long-form narrative, horror short stories pack another kind of punch. They’re able to convey haunting imagery, emotionality, and scares with brevity. Some of the most fear-inducing horror literature comes from short stories. Think Edgar Allan Poe, H.P. Lovecraft, Shirley Jackson, and Clive Barker. Those names synonymous not just with the genre but with the art of short storytelling in general. 

Horror anthologies and short story compendiums are a great way to dig into the classics, but also to discover new blood. If you love the genre but haven’t branched beyond Stephen King, these collections are the way to go. You’ll learn names that will lead you down new, spooky trails, and open your mind to the broader expanse of horror storytelling. 

Just in time for the fall, let’s take a look at eight horror collections you should read to get in the leaf-crunching, spine-tingling, cider-drinking mood. Our sampling includes a mix of vintage classics, genre-bending contemporary tales, and exciting works from female, international, and Indigenous writers. 

The Dark Descent Macmillan

Let’s start with a stone-cold classic. The Dark Descent is a staple of dark fiction anthologies. Considered by many to be the best-ever chronology of horror short stories, the book traces the genre and from its earliest iterations to modern day. (Well, modern at its time of publish in 1997.) If you’re looking to cover your bases, you can’t go wrong here. The book features stories from aforementioned horror staples like Edgar Allan Poe, H.P. Lovecraft, and Stephen King, as well as Henry James, and Richard Matheson.

It also has stories from names you might not associate with horror, like William Faulkner and D.H. Lawrence. And it’s notable for its fine sampling of women-penned horror stories, from authors like Joanna Russ, Shirley Jackson, and Joyce Carol Oates. Split into three parts, The Dark Descent is truly a horror anthology opus. Not only will you learn the history of the genre—you’ll get spooked as hell along the way.

Make sure you read: “The Crowd” by Ray Bradbury, “The Yellow Wallpaper” by Charlotte Perkins Gilman, “The Beautiful Stranger” by Shirley Jackson

Found: An Anthology of Found Footage Horror Stories Vermillion to One

When we think of found footage horror, we tend to think of movies. But it’s an idea that’s made its way into horror fiction, too. Found: An Anthology of Found Footage Horror Stories is an excellent compendium of such tales. But how does one weave found footage into prose? This collection features an array of modern horror writers who find creative ways into the prompt. Some recount home videotapes of monsters and ghouls, others convey newsreel footage of zombie attacks, and one tells the aftermath of a grisly crime through a documentary lens.

If found footage movies make you nauseous from all the shaky cam, you’re in for a good ride with Found. It’s all the fun of “reality”-based horror without the need for Dramamine. 

Make sure you read: “The Novak Roadhouse Massacre” by Alan Baxter, “Regular Saint” by Donna Lynch, “The Spew of News” by Clay McLeod Chapman

The Bloody Chamber Harper & Row

This Angela Carter anthology is an all-timer when it comes to horror fiction. Carter penned every story (and, in the case of the titular story, novelette) in the collection, and all are based on well-known fairy tales. But her aim was not to retell so much as recontextualize. Or, to “extract the latent content from the traditional stories,” as she puts it.

The result is a series of fables you might know told in ways you might not expect, with explicit themes of feminism, body horror, and liberation throughout. The Bloody Chamber is not traditional horror so much as dark fantasy with horrific imagery. Whether it’s a visceral retelling of the legend of Bluebeard, a World War I-era take on Sleeping Beauty, or a “The Lottery”-esque inversion of Little Red Riding Hood, Carter’s trademark poetic prose goes down like a delicious, blood-curdling poison. 

Make sure you read: “The Bloody Chamber”, “The Courtship of Mr. Lyon”, “The Lady of the House of Love”

Never Whistle at Night: An Indigenous Dark Fiction Anthology Penguin Random House

As the dust jacket for this anthology explains, many Indigenous cultures believe you should never whistle at night. Hence, the title of this miraculous compendium of stories from some of the most exciting names in Indigenous fiction. After an excellent forward by Blackfeet author Stephen Graham Jones, the anthology dives right into its many ghost, monster, curse, and revenge stories, all written by Indigenous authors and many with fresh takes on legends and horrors from their regions and tribes.

From the Hukai’po spirits from Native Hawaiians to the Lechuza of Native Mexicans, from colonization to blood quantum, these stories are not just for horror fans. They’re a window into the brutalities inflicted against Native people. The scars they still live with. And some go to very, very dark places. The result is a beautiful collection of stories marked by the history, acceptance, grief, and anger of Indigenous creatives making sure they’re stories are heard. 

Make sure you read: “White Hills” by Rebecca Roanhorse, “Quantum” by Nick Medina, “Dead Owls” by Mona Susan Power

Shiver Viz Media LLC

Horror fiction needn’t fit one singular form or style. Manga is a powerful vehicle for short-form horror for what you see as much as what you read. Shiver, a collection of stories by famed manga artist Junji Ito, is one of the best examples of the genre. Ito’s trademark illustrations bring to life 10 horrifying tales about everything from never-ending dreams to balloon-headed doppelgangers to insect-tinged body horror.

The concepts themselves are terrifying enough, but the art–well, it’s next level chilling. Think heads turned centipedes and demented fanged teeth and spindly ghosts with faces you’ll see in your nightmares. This is a must-read for manga lovers and horror enthusiasts alike. 

Make sure you read: “Hanging Balloons”, “The Long Dream”, “Honored Ancestors”

The Weird: A Compendium of Strange and Dark Stories Corvus

This horror fiction collection, edited by Ann and Jeff VanderMeer, is another tome of legendary writers, but this time with a more international bent. The winner of the World Fantasy Award in 20212, The Weird isn’t just straightforward horror. It’s horror that gets extra, well, weird. The stories are surreal and numinous—more contemplative than expressly horror.

You won’t see your traditional ghosts, monsters, and zombies in The Weird. Instead, you’ll find yourself enmeshed in interdimensional settings that shouldn’t exist and madness you can’t escape. Unnameable, theoretical, and reality-bending horror is sometimes the most dread-inducing there is. The Weird will not only scare you, but will make you question your very existence. 

Make sure you read: “In the Penal Colony” by Franz Kafka, “Saki” by Sredni Vashtar, “The People of the Pitt” by A. Merritt 

Death in the Mouth: Original Horror from People of Color Sloane Leong

This collection of stories from BIPOC and other ethnically marginalized writers ups the ante of social commentary and drives it right into gut-punching horror fiction. As the intro asks, “What is horror to those living in the margins?” It’s a question for readers to ruminate on as they read through stories of systematic oppression, existential dread, body horror, and manic hallucinations. It’s a gripping and intense anthology featuring a wave of talented writers and beautiful illustrations that pack their own elegantly horrific punch. 

Make sure you read: “Welcome to the Labyrinth” by Isha Karki, “Paradise” by Sloane Leong, “Some of Us are Grapefruit” by Rivers Solomon

Her Body and Other Parties Gray Wolf Press

Carmen Maria Machado is one of the most exciting voices in contemporary horror fiction. And this, her first collection of short horror stories, is a true masterwork. As the official summary reads, this collection “bends genre to shape startling narratives that map the realities of women’s lives and the violence visited upon their bodies.” The acuity of cultural and political thought in Machado’s stories are spellbinding. As is her blending of genre, from straight-forward horror to stories tinged with science fiction and fantasy.

The most notable story of the collection, “The Husband Stitch”, is an updated take on Alvin Schwartz’s “The Green Ribbon”, the story that haunted many of our childhoods. Here, it centers on a wife’s plea for boundaries in her marriage, and the too-familiar encroaching of them all the same. You won’t soon forget these twisted tales, especially if you relate to Machado’s themes of bodily autonomy and feminine sexuality. 

Make sure you read: “The Husband Stitch”, “Especially Heinous”, “Difficult at Parties” 

The post Dive Into These 8 Spine-Tingling Horror Anthologies This Fall appeared first on Nerdist.

Disney+ Password Sharing Crackdown Intensifies, New Paid ‘Extra Member’ Options

Just when you thought streaming had taken a little break from its shenanigans, you know, aside from the usual price increases and the like, it rears its head to remind you. Nope, things are still wild out there. The latest evolution is an intensification of Disney+’s password-sharing crackdown. Following the model of Netflix’s password-sharing crackdown, Disney+ will introduce paid options to add people to your account who aren’t members of your household as it embarks on a broader password-sharing crackdown effort. Netflix was the first to introduce an “extra member” model as part of its password-sharing crackdown explorations and now Disney+ is going to do the same. Joy. Honestly, it feels to us like streaming has arbitrarily decided who and how a subscription can be used and changed the rules on us mid-way through. We don’t love it.

Marvel Studios

Either way here are the details of Disney+’s new horizon of password-sharing crackdown.

Disney+ Defines Households so it Can Stop Your Password Sharing

Disney+ wants you to better understand how you can share your account and password (so it can make sure to charge you at every turn). In a message to subscribers, the streamer notes, “Your Disney+ subscription is meant to be used within your Household, which is a collection of devices associated with your primary personal residence that are used by the individuals who reside there.” Once again, we loudly, HRMMMMM.

If you’re away from your household, you can still watch Disney+, you’ll just need to mark that you’re away from home or moved your household via the app. Then you’ll receive a one-time passcode that’s sent to the email address associated with the Disney+ account and be able to watch it.

But don’t worry, if you want to share Disney+ long-distance, you still can, you just have to pay the piper.

Disney+ Lets You Add a Paid ‘Extra Member’Lucasfilm

Disney+ goes onto explain how its new element of password sharing crackdown works. It notes, “But what about people outside of your Household? They will need to sign up and pay for their own subscription or be added as an Extra Member to your account for an additional monthly fee to continue enjoying Disney+.”

Via the “Extra Member add-on” option, subscribers can pay to add one other person to their account. “For example, in the U.S., an Extra Member profile will cost an additional $6.99 per month for Disney+ Basic subscriptions and $9.99 per month for Disney+ Premium subscriptions. Note that only one Extra Member slot is available per account.” This is a bit cheaper than just starting your own account.

But Is There Any Other Way to Share Your Password and Account According to Disney+?

No! If you don’t add someone else as an extra member, the only other alternative is for them to make their own Disney+ account. Why didn’t we think of that?

In Addition to Password Sharing Crackdown Intensification Disney+ Will Also Raise PricesDisney

As if a password-sharing crackdown weren’t enough, Disney+ also plans to raise its prices in October. Disney+’s ad-supported tier will soon cost $7.99 a month, while Disney+’s ad-free tier will cost $15.99. you can check out the full details of the price increase here.

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ColourPop x STRANGER THINGS Makeup Collection Will Turn Your Look Upside Down (In a Glam, Goth Way)

Ah, Stranger Things season one. It’s hard to believe it premiered eight years ago now. We can barely remember what the pop-cultural world looked like without this beloved show, equal parts ’80s nostalgia, chilling horror, action/adventure friendship dynamics, and fun sci-fi. Stranger Things did indeed turn the television landscape upside down. And now it’s coming for your make-up collection. ColourPop’s newest collection pays homage to Stranger Things season one, the season that started it all. And it celebrates both the heroism of The Party and the creeping darkness of the Upside Down all at once. That means it has something for everyone, from the goth ghouls among us who like to stay in the shadows to the white knight Paladins who want to stop evil in its tracks (in style).

Let’s flip Upside Down into another dimension as we dive into everything this limited-edition ColourPop x Stranger Things makeup collection has to offer fans of the series.

ColourPop What’s In the ColourPop x Stranger Things Makeup Collection?

Things are about to get strange in your makeup drawer. But in a good way! The ColourPop x Stranger Things collection will let you wear your fannish love of the series in the most subtle, gorgeous way possible. Not to mention, this makeup line has a lot of variety for you to choose from. As always, with a ColourPop pop-culture drop, this collection is full of hidden Easter Eggs and nods to Stranger Things, which will keep you discovering new plot twists every time you open up your palate. That’s a very meta inspiration since that’s exactly what happens when you rewatch Stranger Things.

ColourPop

Our favorite nods, spoiler alert, are the image of the Demogorgan pressed into its eyeshadow shade and the fun Christmas light-shaped lip gloss wands. We’re obsessed!

ColourPop

But be warned, portals to the Upside Down appear when they want to and then vanish again… sometimes for a very long time. This ColourPop x Stranger Things collection is limited-edition, so if you don’t want to be trapped in a realm without it, be ready to act quickly. More on when and were you can purchase ColourPop x Stranger Things line below. But for now, here’s a look at everything you can snag and a full explanation of each item!

The Full ColourPop x Stranger Things Collection Includes:

Chapter One Eyeshadow Palette: “This limited-edition palette features 16 shades inspired by Stranger Things Season 1: the top half represents Hawkins and the bottom half represents the Upside Down! Enter an alternate dimension with supernatural shades for endless unreal looks, from blue smokey eyes to retro soft glam.” The Chapter One Eyeshadow Palette from the ColourPop x Stranger Things collection costs $26 USD”

ColourPop

Talk to Me Ultra Glossy Lip Trio: “An Ultra Glossy Lip trio inspired by the iconic Christmas Lights scene! Swipe on our limited-edition sheer hi-shine gloss infused with sparkling multichrome flakes that’s perfect for every Stranger Things fan. Infused with hydrating Hyaluronic Acid, antioxidant-rich Kakadu Plum & Sweet Cherry Oil and moisturizing Japanese Sumac.” The Talk to Me Ultra Glossy Lip Trio cost $28 USD.

ColourPop

Liquid Lite Glow Drops: “Glow to another dimension with this ultra-reflective face + body liquid highlighter infused with light-reflecting pearls for a super luminous finish. Featuring a silvery white highlight with subtle blue duo chrome for an otherworldly glow.” The Liquid Lite Glow Drops from the ColourPop x Stranger Things cost $12 USD

ColourPop

Waffle Lip Mask: “Nourish your lips with our leave-on lip mask that locks in moisture and softens lips with a buttery maple waffle flavor inspired by Eleven’s love for waffles! Ultra-hydrating Squalane replenishes dry lips while Shea Butter + Vitamin E moisturize and soften, this limited-edition lip mask comes in an adorable collectable waffle-shaped jar.” This delicious Waffle Lip mask costs $12 USD.

ColourPop

The Monster Chrome Liquid Eyeshadow Duo: “A Chrome Liquid Eyeshadow duo inspired by the Demogorgon! Move between dimensions with our multichrome, high impact liquid eyeshadow packed with colour-shifting, ultra-reflective pearls for a bold effect.” The Monster Chrome Liquid Eyeshadow Duo from the ColourPop x Stranger Things collection costs $20 USD.

ColourPop ColourPop ColourPop

pH Changing Instant Crush Cream Blush: “pH-powered blush that turns from smoky blue to a custom pink shade! Our colour-changing natural matte cream blush reacts to your unique pH for a soft-focus pink shade that works perfectly for you!” The pH Changing Instant Crush Cream Blush costs $14 USD

ColourPop ColourPop

The Full ColourPop x Stranger Things Collection: Of course, we know that Dustin, Lucas, Will, and Mike wouldn’t rest until their Dungeons & Dragons collections were complete or until they’d snagged every possible collectible for their favorite comic. And if you want to emulate that energy, you too can snag the complete ColourPop x Stranger Things line in one go and enter the Upside Down in full style. The complete ColourPop x Stranger Things collection costs $99 USD.

ColourPop When and Where Can You Buy ColourPop x Stranger Things Collection?

Okay, that’s the “what” on this spectacular collection. But now we need the “how.” How can you take home all your favorite items from the ColourPop x Stranger Things and make your life glossier, sparklier, and well, more strange?

ColourPop

Well, here are the details. The Stranger Things Collection will be available for purchase individually or as a complete set on ColourPop.com on 9/26/24 starting at 10 AM PT and at ULTA Beauty starting 9/27/24 date. These limited-edition ColourPop collections are known to sell out, so get on your bikes and pedal over right at the drop date.

ColourPop

We’ll snag these and keep our fingers crossed for a Stranger Things 4 collection, too. We just need an Eddie Munson lipgloss in our lives (and more Eddie Munson, just generally).

Over and out!

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Best Horror-Related DC Universe Comics, Ranked

Publisher DC Comics may be famous for superheroes like Batman, Superman, and Wonder Woman. But they also have more than a few horror-themed comics to their name. Some of which are ideal to read this Halloween season. We’ve compiled the best of their horror-themed comics over the decades to read over the spooky season. We are limiting this ranking to horror characters existing within the DCU itself (not imprints like Vertigo), and no horror anthologies like House of Mystery, or The Unexpected. Also, no Batman: The Long Halloween. Yes, it’s set partially during October, but it’s more of a crime story than a horror story, despite the trappings.

10. The Demonby Jack KirbyDC Comics

The legendary Jack Kirby was famous for his epic sci-fi stories, both at DC and at Marvel. Titles like New Gods and Eternals. But when DC wanted a horror book from the creator in the early ‘70s, he reluctantly created one. The Demon focused on Jason Blood, a brooding occult expert in Gotham City who is secretly over 1,000 years old. His other secret is that he can transform into a rhyming demon called Etrigan, thanks to a spell cast by Merlin in Arthurian times. The Demon only ran for 16 issues, from 1972-1974. But those issues contain all kinds of Kirby-esque horror. Etrigan fights witches, evil immortals, and many kinds of monsters (Jack Kirby loved monsters). Although other series featuring the Demon have come and gone, we recommend the Kirby original above all.

9. Batman & Dracula Trilogy (Red Rain, Bloodstorm, and Crimson Mist, 1991-1998)by Doug Moench and Kelley JonesDC Comics

Writer Doug Moench and artist Kelley Jones were already famous for their work on various Batman titles before doing these three books. But the Batman & Dracula trilogy is maybe their best collaboration. It’s an Elseworlds story telling the tale of Dracula coming to Gotham and feeding on the unhoused population. In order to stop him, Batman himself becomes a vampire to beat Dracula at his own game. It was the battle of the bat-men, one literal and one figurative, fans waited years to see. Over the course of what became a trilogy, things get wild as Batman’s bloodlust rages out of control. Batman drains most of his most well-known villains. The story continues in Bloodstorm, and it all concludes in 1998’s Crimson Mist. Moench flexes his horror storytelling muscles in this trilogy, and Jones’ rendition of both Batman and Dracula is often pure nightmare fuel.

8. Blackest Night (2009)by Geoff Johns and Ivan Reis DC Comics

A Green Lantern-centric crossover as a Halloween read? We know, it sounds weird. Well, this one is not only one of the greatest DC crossover events stories ever, it’s also one of the best zombie stories in comics history too. In the DC comics lore, there is not only a Green Lantern Corps, but several other colors. Each of them powered by different emotions. In 2009, Green Lantern writer Geoff Johns revealed the existence of the Black Lantern Corps. These Lanterns were powered by the energy of death itself. The Black Lantern rings attached themselves to the rotting corpses of famously dead DC characters. They then waged an all-out war against the DC heroes in Blackest Night. The art by Ivan Reis is next level in this series. He brings true horrific detail to the terrifying Black Lanterns. Sci-fi zombies fighting the greatest heroes ever. What’s not to love?

7. The Spectre (1992-1998)by John Ostrander and Tom MandrakeDC Comics

The Spectre has existed since the Golden Age of comics, over 80 years at this point. He was originally police detective Jim Corrigan, who continued to fight crime after death as the ghostly superhero the Spectre. And he’s held his own ongoing series various times throughout the decade. But for our money, the best take on the character is writer John Ostrander’s ongoing The Spectre series, which ran from 1992-1998. Featuring career-best work from penciler Tom Mandrake, The Spectre followed the vengeful ghost (who is the embodiment of God’s Wrath) as he fought one supernatural threat after another in the DC universe. These stories had a proper old-school horror vibe. And when we say “old school,” we mean Biblical horror. This is a series that should be read on a late October night with a cup of hot cocoa.  

6. DCeased (2019)by Tom Taylor and Trevor HairsineDC Comics

This is the most recent horror comic from DC on this list, and it has become quite a sensation. Marvel might have beaten DC to the game with their Marvel Zombies series many years ago, but DCeased just might be the better zombie vs. superheroes series overall. Written by Nightwing scribe Tom Taylor, DCeased focuses on an alternate Earth where the fabled Anti-Life Equation has unleashed a zombie apocalypse on Earth. Lois Lane is the series narrator, and the story features most of the main DC heroes—either living or dead. This six-issue mini-series was so popular, it has continued on in various spin-offs, with the most recent, War of the Undead Gods, coming out in 2023. But we think the first mini-series is still the best, and worth reading this Halloween season.

5. Justice League Dark (2018-2021)by James Tynion IV and Alvaro MartinezDC Comics

The original Justice League Dark came out of DC’s New 52 reboot back in 2011. It was essentially a collection of heroes who were supernaturally tinged in some way. That series was fun, but the original version wasn’t the best one. The truly best version came in volume two, which ran from 2018-2021. Written by James Tynion IV and drawn by Alvaro Martinez, this take brought together the sorceress Zatanna, Swamp Thing, Man-Bat, Detective Chimp, and was led by Wonder Woman, with John Constantine and Doctor Fate joining on occasion. These stories had great characterization, and genuinely creepy supernatural foes for the team to face off against. Wonder Woman might seem like an odd choice for a group like this, but her being on the team makes sense. She was born of magic after all. While the name “Justice League Dark” is a little clunky, the actual comic is fantastic.

4. Deadmanby Arnold Drake and Neal AdamsDC Comics

Neal Adams became famous for his defining refresh on Batman in the ‘70s. During that time he helped make another hero at DC. Less famous, but no less cool, we’re talking about Deadman, the spirit of deceased circus trapeze performer Boston Brand. He’s a spirit who possesses living people in order to solve his own murder and help the helpless. The storylines were from writer Arnold Drake, but it was really Neal Adams’ artwork that elevated them to another level. Other Deadman series have come and gone, but the originals, which ran in Strange Adventures #205-216, later recollected as Deadman in 1985, remain the best version of the character. It’s a character DC Studios head James Gunn loves, so this Halloween might be a good time to get acquainted with Boston Brand.

3. Batman: Arkham Asylum – A Serious House on Serious Earth (1989)by Grant Morrison and Dave McKeanDC Comics

A lot of Batman stories lean into spookier themes, but none more so than writer Grant Morrison’s original graphic novel, Arkham Asylum: A Serious House on Serious Earth. Published in 1989 in hardcover, at the height of Batmania, it showcased some jaw-droppingly incredible art by Sandman’s Dave McKean. The story centers on the history of the notorious asylum in Gotham City, after its infamous inmates have taken it over. This all coincides with some spooky supernatural goings on when the asylum was first founded decades earlier. Batman’s rogues gallery has never looked scarier than here, especially Dave McKean’s version of the Joker. This OGN made Grant Morrison a comics superstar, and was a big influence on the Batman: Arkham Asylum franchise of games.

2. Hellblazer “Dangerous Habits” (1991)by Garth Ennis and Will SimpsonDC Comics

Alan Moore introduced occult expert and perpetual chain smoker John Constantine in the pages of Swamp Thing and the character was an immediate breakout star. He received his own series in 1987 with Hellblazer, which ran a very impressive 300 issues. The initial creative team was writer Jamie Delano and artist John Ridgway, with Dave McKean producing incredible painted covers. While many iconic writers have written Constantine over the years, including Grant Morrison and Brian Azzarello, we think his best run was under Preacher creator Garth Ennis, who wrote 50 issues of the series in the early ’90s. His best story was “Dangerous Habits,” which saw Constantine make a pact with demonic forces to save himself from lung cancer. This was the basis for the Keanu Reeves Constantine film from 2005. If you’re going to pick one Hellblazer story this spooky season, this would be the one.

1. Saga of the Swamp Thing (1984-1987)by Alan Moore, Steve Bissette, and Rick VeitchDC Comics

Before writer Alan Moore changed comics forever with Watchmen, he took over writing duties on DC’s struggling horror comic Saga of the Swamp Thing in 1984 with issue #20. He absolutely rocked the series to its core, together with artists Stephen Bissette, Rick Veitch, and John Totleben. Retconning almost everything, in Moore’s version, Swamp Thing wasn’t a man transformed into a plant, but the other way around.

If there’s an overall horror genre that Moore’s Saga of the Swamp Thing adheres to, we’d have to say it’s “American Gothic.” But there are tons of traditional horror stuff in the pages of Moore’s Swamp Thing, only reinvented. Things like werewolves and ghosts appear, now mixed together with philosophical musings about existences that elevate this above all other horror comics of the era. All together, the Alan Moore run of Saga of the Swamp Thing is 56 issues long. And it’s a 56 issue run that changed the game for supernatural and horror-related comics.

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THE WILD ROBOT Is a Stunning, Gorgeous Movie in Every Way

I don’t know what DreamWorks Animation’s most visually pleasing movie was before The Wild Robot. I just know whatever it was it’s not even close to being the aesthetic marvel of writer-director Chris Sanders’ gorgeous new film. It features absolutely stunning animation that left me awed throughout. It’s setting, a lush island in the Pacific Northwest, often looks real. As do its many animals who inhabit an isolated land free of human touch. When they move you’ll briefly think they’re made of flesh and bone (and fur and feathers). The only thing in DreamWorks’ library that comes close to being as beautiful as The Wild Robot‘s animation is The Wild Robot‘s own story. It’s a moving and poignant story about parenting, family, fitting in, and identity rich in theme and meaning.

The Wild Robot, based on Peter Brown’s bestseller of the same name, follows ROZZUM unit 7134. It’s an advanced robot who becomes known as Roz. She wakes up shipwrecked on an island uninhabited by humans. It exists in a near future where rising seas have flooded much of the world. Roz’s unlikely home is still brimming with life, though. It’s home to many animals who call the bizarre robot “the monster.” She’s anything but. She’s programmed to serve others and complete any given task.

Roz’s quest to find a job leads her to an unlikely role: mother. She becomes the head of a found family. It also consists of a devilish, lonely fox named Fink. They care for a newborn runt gosling who imprints on Roz after she accidentally crushed the unhatched bird’s family. She ultimately names the undersized child Brightbill.

What follows is a emotional story that is almost entirely predictable in the best ways. If I were to write out every plot point the entire film would sound cliché. But they don’t feel that way onscreen. The Wild Robot doesn’t work so wonderfully because it’s trying to reinvent the wheel. It works because it makes a beautiful new version of a wheel. It does that by combining a classic tale of found family with a coming of age story that is expertly told from the point-of-view of both the parent and the child. And it does so with grace, elegance, soul, and humor (some of it occasionally dark) in a way that is charming, interesting, and entirely heartfelt. It’s earnest without being saccharine, sincere without being clunky.

DreamWorks Animation

This is a story that somehow seamlessly combines elements of films like Wall-E, I, Robot, Lady Bird, and Finding Nemo to make something that feels both familiar and totally original.

It’s also teeming with timeless themes that will touch viewers on a personal level in different ways. The Wild Robot is about more than just family, parents childhood, and home. It’s about feeling like an outsider, identity, belonging, community, sacrifice, purpose, place, determination, and how the very things that make us different, the things that can feel like weakness, are often our greatest strengths.

It’s hard to for some movies to establish even one meaningful theme. Yet somehow The Wild Robot has an abundance of well-developed ideas, all of them told with expert care and love. It’s really an incredible piece of art and the reason the actual story is just as impressive as the film’s visual elements.

DreamWorks Animation

Sanders’ movie also features a truly stellar cast. It’s led by Lupita Nyong’o whose performance as Roz is easily among my all-time favorite voice acting performances. Her delivery of some lines left me an emotional wreck. As did Pedro Pascal’s performance as Fink, a selfish loner hiding real vulnerability. And Kit Connor beautifully rounds out their unique little family as Brightbill.

The film also features standout performances from Catherine O’Hara as mother opossum named Pinktail, Bill Nighy as wise old goose called Longneck, Matt Berry as the hilarious, strong-willed beaver Paddler, and Mark Hamill as the island’s toughest denizen, a grizzly called Thorn.

The Wild Robot‘s only issues are very small. There are a couple of characters, including a delightful falcon named Thunderbolt voiced by Ving Rhames, who seem to show up out of nowhere. It’s as though the film wanted to cut seven or eight minutes from its 1:42 runtime, which makes sense since this is absolutely a movie that kids will love as much as their parents. (Just for different reasons.) But I would have been content to spend three hours in this world of love, hope, and community.

DreamWorks AnimationDreamWorks Animation

While I know this is not a reflection of its quality, on a personal level as a dad The Wild Robot leveled me. I was tearing up throughout the film. And when it ended I wanted to go straight home to hug my son. I’ve never seen any film better capture what its like to be a parent. This movie understands on an intimate level the challenges and rewards of having a kid. It fully conveys the way being a parent literally rewrites your brain/programming. But while I know how I relate to this film isn’t a reflection of The Wild Robot‘s quality, the fact it will give everyone who sees it a way to relate to it on a personal level does.

That’s a really hard thing to do, to tell a story that speaks to everyone personally in some way. But like everything else with this wonderful film, it beautifully pulls it off.

⭐ (5 of 5)

Mikey Walsh is a staff writer at Nerdist. He somehow managed to not sob like a baby during The Wild Robot. You can follow him on Twitter and Bluesky at @burgermike. And also anywhere someone is ranking the Targaryen kings.

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